Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Mavi Gri - Aşka Çare Bulunmaz (Bahadır Tatlıöz) - Chord
Key C major – A minor Chords Em, Dm, Am, F, G Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Am Em Dm Em
Am Em Dm
Yanımda olman gerek biraz
Em
Elimi tutman
Am Em Dm Em
Biz koca bir hayatı senle beraber paylaşabilecek miyiz
Am Em Dm Em
Yavaş yavaş al karış beni damarlarıma
Am Em Dm
Sen ne zehirsiz nede bal
Em Dm
Bana ilaç oldun her zaman
Em F Em Dm
Aliş alış alıştım ben sana
Em F Em Dm
Karış karış yakıştım ben sana
Em F Em Dm
Konuş konuş bitiremedim ben seni
Em F G
Sel olup içimden taşınca
Am Em
Kölen oldum geldim ben sana
Dm Em
Kulun oldum her gün kapında
Am Em Dm Em
Son umudum sensin beni biraz anlasana
Am Em
Aşka çare bulunmuz mı yoksa
Dm Em
Sevdin mi şehirler boyunca
Am Em Dm
Başka çare yok seni yazmaktan
Em Am
Ruhuma kazımaktan
Am Em Dm Em Am Em Dm Em
End of song Play again?
Mavi Gri - Aşka Çare Bulunmaz (Bahadır Tatlıöz) Tabs
NotesX
Harmony analysis
Mavi Gri – Aşka Çare Bulunmaz (Bahadır Tatlıöz): key and chord analysis
The song opens on Am and ends on Em. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the A minor side because it opens on Am and Am is heard 12 times while C never appears. That is an interpretation, not a rule — the same chords are just as valid seen from C major, and switching between the two views is exactly where the practice value lies.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to C or to Am; comparing both readings is a practice of its own.
Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | C | Tonic — home | C · E · G | — |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 15× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 29× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 4× |
| V | G | Dominant — strongest pull home | G · B · D | 1× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 12× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 12× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv | Dm | Subdominant — moves away from home | D · F · A | 15× |
| v | Em | Minor dominant — soft pull | E · G · B | 29× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 4× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 1× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 61 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Em Am Ciii → vi Amv → inatural-minor cadence ×9
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×1
- F G CIV → VIV → V AmVI → VIIVI → VII ×1
The move to watch is Em → Am, heard 9 times. From the Am side it is v → i (natural-minor cadence: gentle, modal arrival); from the C side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
The song on the circle of fifths
- Played in the song — chord of the key
- Played — the minor's harmonic V or a secondary dominant
- Played — borrowed or outside chord
- Home region: IV–I–V and ii–vi–iii
Empty slices are chords the song doesn't use.
Capo and easier keys
With C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
Starting on Am, the song gives away its key from the very first bar. Em, Dm, Am, F carry the song: iii–ii–vi–IV relative to C, v–iv–i–VI relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em → Am (iii → vi in C, v → i in Am): natural-minor cadence — gentle, modal arrival. It closes on Em, letting the C side have the last word.
This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.
Mavi Gri - Aşka Çare Bulunmaz (Bahadır Tatlıöz) Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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Lyrics: Akif AlkanMusic: Akif AlkanArrangement: Bahadır Tatlıöz & Engincan Onar
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